Bailando con la muerte

This had to have been one of Richard Attenborough's first films, as he appears a bit raw, but still very dynamic in this British crime drama. He plays Ted Peters, a hack driver who gets involved with a dance hall gang.

Barry Jones plays the head gangster convincingly. One of his henchmen, Paul Baker, is a lifelong friend of Ted. Paul gets Ted involved in a mess that leads to some very dangerous situations.

Ted's girlfriend, Joy, played by Sheila Sim (any relation to Alister Sim?) is very convincing as well. Scotland Yard becomes involved and the usual noir dance ends with a crescendo of violence. Entertaining.

Worth it for the post-war background. The 50s "New Look" hadn't happened yet and all the girls have big hair and big shoulders - much more flattering than the 50s fashions that made everyone look middle-aged.

Richard Attenborough and Sheila Sim are likeable. They get involved in investigating the murder of their friend, a young, dashing Bill Owen.

It's a shame Diana Dors wasn't credited. She was good in her early roles - she turns up in another dance hall with Petula Clark and Bonar Colleano. I think she was dubbed in both films, though.

To the gentleman who thought it terribly rude that some other bloke could just grab your partner - it was called an "excuse me" dance. There was also a "ladies excuse me". This is not a regular Palais de Dance, however - the girls are all professional hostesses.

Not really the best title for this ordinary British crime-noir, but Richard Attenborough ("Ted") and Shiela Sim ("Joy") put in a decent effort. He is a London taxi driver who finds himself embroiled in some criminal activities when his wartime friend is found murdered. The trail leads both him and the police to a nightclub run by "Gregory" (Barry Jones) and his MC "Baker" (Barry K. Barnes). The pair decide that "Joy" may be able to help their investigation by taking a job as an hostess at the club, but is she putting herself and him in even more danger as the gang soon realise that they are onto them? This packs quite a bit into eighty minutes and both at the top of the bill do their jobs efficiently - as does the under-stated Jones. The ending is a bit weakly predictable and it rather dialogue heavy, but it's still quite a watchable afternoon feature with a bit of menace, a little humour and a fine collection of hats!

Ted (Richard Attenborough) and Joy grew up with Dave and have remained friends with him....not close friends, but friends. Dave invites them to come to his club and later asks Ted to work with him. Ted assumes Dave is involved in some shady work and politely declines. A short time after this, one of Ted's 'associates' leaves him for dead in the back of Dave's taxi! Now the police do not suspect Ted...but the mobsters who killed Dave think perhaps Dave might have said SOMETHING to Ted before he died. So, they are now looking for Ted...and Ted is trying to find them because the police can't always be there.

This is a GENERALLY good movie, though one part irritated me because it didn't seem realistic and defied common sense. In this scene, two goons are going to kill Ted...and at gunpoint they tell Ted this. Ted is a scrappy guy and manages to beat up BOTH the thugs. BUT, and this annoyed me, he didn't pick up the gun, he didn't tie up the thugs (or shoot their kneecaps to keep them from running away) and proceeds to the police station. Why not call the police and have them meet him at this hideout? Why not give the police the attempted murderers?! If someone was going to murder me and I was able to subdue them, I certainly wouldn't leave to go look for the coppers! It's sad, as otherwise this is a nice little drama. Tense and very interesting to see a nice 'every man' pulled into this messy business. But I must deduct at least a point because of this one sloppily handled scene.

Compo from "Last of the Summer Wine" obviously loved the East End and probably made friends with Chas 'n' Dave. That's why I saw them play at Holmfirth. It was where Summer Wine was filmed – the friendship link is complete. Compo is an East end gangster in this film. He's short in stature and makes an unconvincing tough guy. He would have been flattened in his fight scene at the beginning of the film. The same goes for his ex-army buddy, Richard Attenborough (Ted), Again, this short person would have been flattened in both his fight scenes. The fights are badly staged and very fake.

There's a criminal gang running a dancehall and carrying out robberies and Dickie short-arse meddles in their affairs so he can get to the truth behind his pal Compo's demise. Guess what – he succeeds. Standard good guy v bad guy stuff. The most interesting moments of the film for me occur in the dancehall where Diana Dors hangs out. Singer and dancehall girl Judy Kelly (Toni) is the best of the cast. What is it with people cutting in on other men dancing with a girl by tapping them on the shoulder and stealing their girl away? No way! This would be disastrous and cause non-stop scuffling. I hear this was an American custom introduced in films. I can't believe this actually happened! Any info on this ludicrous concept would be greatly appreciated.